Читать книгу The Ladies' Paradise - Эмиль Золя, Émile Zola, Еміль Золя - Страница 1

I certainly have no desire to frighten the female readers to whom this free rendering of one of M. Zola's best books so largely appeals, – it is indeed a book with a good sound moral, fit for every thoughtful woman to peruse – but, in endeavouring to point out its scope and purport, I must, in the first instance, refer to some matters in which women, as nowadays educated, take as a rule but the scantiest of interest. Still many of them may have heard that in the opinion of various fin-de-siècle seers and prophets the future of the human race lies in collectivism, a prediction which I do not intend to discuss, but respecting which I may remark that during the last half century in this country there has certainly been a tendency in the direction indicated, even amongst classes which profess to hold every form of socialism in horror.

This tendency towards collectivism has manifested itself notably in certain trades and industries by the introduction of various forms of co-operation, by the amalgamation, too, of rival businesses, and even by the formation of quasi-monopolies which, evil and unjust as they may appear to some, nevertheless rejoice the heart of many Socialists who consider that the fewer the individual interests to be overthrown, the easier will be their task of conquest when the time shall come for olden society to give up the ghost. And, further, a tendency towards collectivism is also to be traced in the establishment of those great "universal providing" concerns which we know by the name of "stores", and which many a Socialist will tell you are but the forerunners of the colossal "magazines of distribution" which will become necessary when collectivism shall have attained its ends.

On all sides nowadays the small trader and the small manufacturer are assailed, and in many instances can barely hold their own; for cheapness is the god of the hour, and in cheapness they cannot hope to compete with those who operate upon a colossal scale. Whether they will ultimately be obliged to give up the contest, whether the passion for individuality is destined to depart from the human race, these and the many other questions which the problem suggests, I will leave to the Collectivist prophets and to those who oppose their doctrines in our reviews and newspapers. I have merely desired to call the reader's attention to this problem and to the tendencies previously referred to, because he – or she – will find that they constitute no small portion of the subject of the present volume of M. Zola's works.

In "Au Bonheur des Dames" M. Zola has taken as his theme a particular phase of the amalgamation and "universal providing" tendencies, as they have presented themselves in France; and the phase in question is certainly one of the most interesting, if only for the fact that it is so closely connected with the desires and needs of women. In a word the work deals with those huge drapery establishments, like the "Bon Marché" and the "Louvre", which are renowned throughout the world.

We have no doubt several very large draper's emporiums in London, but I do not think that any one of them can claim to rival either in dimensions, extent of business, or completeness of organisation the great French establishments to which I have referred above. I can myself well remember the growth of the "Bon Marché" and the "Louvre". Transferred, when my education was but half-completed, from the solitude of the Sussex downs to the whirling vortex of Paris, I grew up amongst those Haussmannite transformations which virtually made the French capital a new city – a city which became my home for well nigh twenty years. Even now I am but a stranger in my own land, among my own kith and kin; and my memory ever dwells on those years when I saw Paris develop, opening her streets to air and light and health, increasing her wealth and her activity, on the one hand multiplying her workshops, ever busy, thanks to the taste and dexterity of her craftsmen, and on the other, by the attraction of a thousand pleasures, becoming the caravanserai of Europe. And my fanatical admiration for M. Zola and for all his works, the passion which has induced me to translate so many of them, arises mainly from the fact that they deal so largely with Paris and her life at a period which I so well remember, with scenes and incidents which I can so readily recall and which carry me back to the days when the heart was light and buoyant, and sorrow was a thing unknown. And when, now and again sundry supercilious English critics, qualified by a smattering of French and a few months' residence in France, presume to sneer at M. Zola's pictures of French manners and customs in the days of the Second Empire, I merely shrug my shoulders at their ignorance. For my own part I believe, for like St. Thomas I have seen.

Among the subjects dealt with by M. Zola in the Rougon-Macquart series, that of the present work, – the development of the great magasins de nouveautés– is to me one of the most familiar, for the reason that I have always taken a keen interest in the attire and adornment of women, and in my salad days wrote some hundreds of columns of fashion's articles for English newspapers. And my duties in those days took me not only to the salons of M. Worth, M. Pingat and other faiseurs à la mode, but also to the great drapers', for if, on the one hand, I learned in the former establishments what would be worn by royalty, aristocracy and fashionable depravity, on the other, in the huge bazaars similar to "Au Bonheur des Dames", I ascertained what would be the popular craze of the hour, the material which would be seen on the back of every second woman one might meet, and the one or two colours which for a few months would catch the eye at every street corner. All this may seem to be frivolity, but it is on such frivolity that a goodly portion of civilized humanity subsists. I find M. André Cochut, a well informed writer, holding an official position, stating in 1866 – a year which comes within the period I am referring to – that there were then 26,000 shops and work-shops in Paris which sold or made (almost exclusively) articles of female attire; and these 26,000 establishments (many, of course, very small) gave employment to nearly 140,000 persons of both sexes, among whom there were 1500 designers. Moreover, the trade of Paris in materials and made-up goods was estimated at 570 millions of francs, or £22,800,000! Under these circumstances that Paris should have claimed the sovereignty of fashion is, I think, not surprising.

Nowadays the number of establishments selling or making goods for feminine attire has undoubtedly decreased, but the trade is greater than ever. Well nigh the only alteration one can trace, is that many of the smaller houses have been swallowed up by their big rivals in accordance with the usual conditions of the struggle for life. The big establishments did not, however, step into the arena, huge like Goliaths and armed cap-à-pié. As M. Zola relates in the following pages, they likewise had humble beginnings, and would never have expanded as they did, but for the commercial genius of their founders. I remember the "Bon Marché" having but one entrance (in the Rue du Bac, near the corner of the Rue de Sèvres) and ranking, in the opinion of the women of the neighbourhood, far below the "Petit St. Thomas" which it has since altogether outstripped. In the same way the huge block of building now occupied by the "Magasins du Louvre" comprised some forty different shops held by different tenants. Indeed the pile had originally been erected for an hotel, the Grand Hôtel du Louvre, and the shops, even those bearing the name of the Louvre, were at the outset, only a secondary consideration. But gradually a transformation was effected; the drapery emporium became larger and larger, secured the adjoining shops, and ultimately invaded the hotel itself.

Certainly all this was not easily brought about. Many neighbouring tenants refused to give way to the monster and clung stubbornly to their leases, fighting the unequal battle with the utmost obstinacy, – an obstinacy such as that which the Baudus, and old Bourras, the umbrella maker, will be found displaying in M. Zola's pages. In the case of the "Louvre", the last of these stubborn antagonists was, if I recollect rightly, a stationer whose shop fronted on the Place du Palais Royal, and I believe that he held out until his lease fell in. At the "Bon Marché" too, the Boucicauts had to contend against similar obstacles; and, there, the enlargement of the premises was attended by difficulties akin to those which M. Zola describes; for many of the adjoining houses were decrepit, tumble-down vestiges of olden Paris; and each time the "Bon Marché" gained a few yards of frontage expensive building operations had to be carried out.

In his present work M. Zola has, of course, not taken as his theme the actual history of either of the great establishments to which I have been referring. But from that history and from the history of other important magasins de nouveautés he has borrowed a multitude of curious and interesting facts, which he has blended into a realistic whole. Curiously enough the site which he has chosen for "Au Bonheur des Dames" was really the site of a fairly large drapery emporium, which became the "Grands Magasins du 4 Septembre"; but perhaps that title, savouring as it did of revolution (the revolution of 1870), brought the establishment bad luck with women caring little or nothing for politics; for it failed to attain the success to which its central situation seemed to entitle it. The "Place Clichy," to which M. Zola will be found referring, still exists, and does a largely increasing business with all the north of Paris; whilst as for the "Four Seasons", which one of his characters, Bouthemont the silk-salesman, establishes near the grand opera-house, this is really the "Printemps," that white and blue and gilded palace which the Parisians owe to the commercial enterprise of M. Jules Jaluzot, by some people unkindly nicknamed "the man with the umbrella".

I have often thought that, from the commercial point of view there is considerable resemblance between M. Jaluzot and M. Zola's hero, Octave Mouret. The latter figures at an earlier stage of his life in another of M. Zola's novels – "Pot-Bouille" – but he there appears as a graceless Don Juan without a redeeming quality; whereas, in the present work, one observes the development of his business capacities, and the gradual progress of his reformation, till his career culminates in a marriage which ought to prove a very happy one, if there be any truth in the old saw that a reformed rake makes the best of husbands. I have, however, no desire to institute the faintest comparison between the private life of Octave Mouret and that of M. Jaluzot; but in describing the former's commercial genius and boldness M. Zola has, I think, more than once thought of the latter's hardihood and talent in carving for himself a great industrial kingdom beside those of the "Bon Marché" and the "Louvre".

M. Jaluzot is famous in Paris for the rare ability he displays in turning everything into advertisement, and this of course is an extremely valuable gift, as advertisement is the very life of the huge magasins de nouveautés. Some years ago the "Printemps" was burnt down; and when the necessary rebuilding operations began M. Jaluzot prevailed upon the Cardinal Archbishop of Paris to come and bless the foundation stone of the new edifice. This inspiration – well worthy of M. Zola's hero – secured to M. Jaluzot extensive patronage among the devout; and it was important at the time that he should reconcile himself with society, for on the occasion of the burning of his establishment the entire Parisian press had reproached him with showing greater eagerness to rush off and purchase an umbrella, for protection against a shower, than to minister to the needs of the numerous employees who had been cast on the pavement of Paris by the catastrophe. Hence the nickname to which I have previously referred.

With the every-day life of the Parisian drapery employee the present work is very largely concerned. From the personal investigations I made at former times, the many conversations I had with employees of this class, the numerous corroborative statements I have read in the works of other French writers, I believe M. Zola's pictures of the "counter jumper's" existence at the period dealt with, to be scrupulously accurate. It will be noticed that these pictures slowly change in certain respects as the story proceeds. Mouret at last begins to take more interest in the material comforts of his staff, provides it with better food, and treats it generally in a more reasonable manner; whilst among the employees themselves, their depravity and vulgarity, hidden beneath a surface elegance and politeness, is at times altogether stamped out, at others thrust back far more deeply. To the Boucicauts of the "Bon Marché" largely belongs the honour of having improved the material well-being, and raised the moral tone of shopmen of this class; and their example has been very generally followed. Still, as every Paris "calicot" well knows, there is one great emporium whose internal organization is still open to serious criticism.

"Calicot," I may mention, is the French equivalent of our term "counter-jumper"; and in this introduction to a work which deals so largely with the "calicot's" life it may not be out of place to explain the origin of the nickname. It dates from 1817, when a vaudeville called "Le Combat des Montagnes, ou la Folie-Beaujon" by Scribe and Dupin was performed at the Paris Théâtre des Variétés. At that period, with the wars of the Empire still fresh in their recollection, the Parisians generally evinced a cordial respect for those who had seen service; and the young men of the capital, promenading on the boulevards, were fond of affecting a military appearance and demeanour. Matters even came to such a pass that drapers'-assistants, commis-marchands as they were then called, cultivated huge moustaches and wore spurs on their boots even when behind their counters. To this ridiculous craze Scribe and Dupin alluded in their vaudeville, into which they introduced a certain "counter-jumper" called Monsieur Calicot, whom the other characters of the play at first mistook for some survivor of the Old Guard. The result, as might have been expected, was an explosion of rage among all the drapery employees of Paris. They besieged the theatre, and desperate and sanguinary battles ensued in the auditorium. The authorities, however, declined to place the vaudeville under interdict; and after several interventions on the part of the police, the irate employees were cowed by the presence of a detachment of grenadiers, who, with loaded muskets, stood on either side of the stage throughout each performance. And from that time to the present day "calicot" has been French for "counter-jumper"1 so far as drapery is concerned.

However, the vaudeville did not cure the "calicot" of his partiality for moustaches. These he still cultivates, as all who have been in Paris well know; indeed he frequently grows a beard as well; but as such hirsute appendages have long since ceased to be the exclusive property of the military, nobody taunts him with affectation concerning them. On the other hand he has wisely renounced the practice of wearing spurs behind his counter, and if he sometimes evinces a little military precision or even swagger it would be unwise to deem this assumed; for in these days of the universal conscription it may well have been acquired by real service in the ranks. Indeed, we must not sneer at the "calicot"; he answers his country's call as readily as any other of her sons.

It remains for me to say a few words concerning the moral of this book. The story of Denise's struggles, hardships and temptations, her quiet courage and gentle steadfastness is invested by M. Zola with that simple pathos which adorns so many of his works. The young girl passes through the fire and emerges from it unscathed, protected by her own sense of rectitude and the purity of her love, whilst others, alas, are devoured. No more beautiful example of feminine resistance to evil could be imagined. We follow the heroine's fortunes with emotional interest and take a kindly satisfaction in her reward. Possibly, we might wish that she had loved a somewhat worthier man than Mouret, in whom there are many moral blemishes; but the reflection imposes itself, that under her caressing influence these blemishes will disappear, that Mouret will throw off all that remains in him of the old Adam and prove worthy of the love that he himself feels and has inspired. And surely woman's love can have no holier mission than that of the reformation of man. What, moreover, would become of humanity if a woman's heart were to be given only to the immaculate, in accordance with the paradoxical dictum of some latter day lady-novelists? Does not the woman who brings an erring man back into the straight path that he may contribute to the common weal, achieve more good than she who simply plights her troth to one as blameless as herself? And thus a halo encircles M. Zola's heroine, Denise, the personification of all that is best and truest in the female heart.

One word more. The compass of the present introduction does not permit me to establish a comparison between the relative positions of French and English salesmen and women in the great drapery establishments. I fear, however, from all I have heard, that several of M. Zola's strictures on the treatment meted out to the employees of Octave Mouret's bazaar, might be applied to English houses. And thus whilst I recommend this book to women, whom its subject cannot fail to interest and who will take a warning from the extravagance of Madame Marty and find a bright example in the unswerving rectitude of Denise, I also submit it to the attention of those who are seeking in this country to improve the position of shop employees, for I feel certain that they will find many a useful hint in its searching and accurate pages.

ERNEST A. VIZETELLY.

Merton, May 1895.